Lehar failure: “Giuditta” at the Bavarian State Opera
Created: 12/19/2021, 6:23 PM
From: Markus Thiel
Between the grotesque and criticism of time: scene with Daniel Behle as Octavio.
© Wilfried Hösl
Lehár already left behind a musical theater hybrid with “Giuditta”.
Christoph Marthaler takes this even further at the Bavarian State Opera.
A controversial evening.
After a good ten minutes, the duty is over.
"Friends, life is worth living" - it is no more popular today, maybe even later with the "lips that kiss so hot".
And Daniel Behle, arms outstretched, ramp position, tenor cannon at the ready, filled the house with joy.
Also because he knows: From now on the mood will descend.
First “Giuditta” at the Bavarian State Opera, only for the second time Franz Lehár, finally another operetta besides “Fledermaus”, that is not true for many reasons. Because: "Giuditta" is not played in this new production. It is an echo of Lehár's last stage opus, an echo of that first performance year in 1934, when it was getting dark in a world that was taking refuge in amusement.
Christoph Marthaler, the biggest, quietest and now extremely experienced playwright, has used the Lehár shelf, including Bartók, Shostakowitsch or Berg's orchestral songs, and created a strange, deadly serious to grotesque theater promenade mixture from them. Naturally, the disgust triggers those who travel a lot from culture, who believe they have seen everything and, while rolling their eyes, moan "Not again". But this has to be credited to Marthaler: The thing works in many ways. As a topic, atmosphere and time study. As a meditation on the piece, before and after effects with clear thinking parallels to the present. And as a continuation of what Lehár presented. "Giuditta" is already a hybrid, does not want to be an operetta or opera, neither comedy nor tragedy, ends in nihilistic brooding over missed opportunities.
A key moment: The use of Lehár's unknown play "Fever"
Action is hardly shown that evening, but done.
The staff will be happy to stand by the microphone and read the texts.
Marthaler proves that Lehár can do differently, not least with the use of "Fever", which becomes a key moment among the many musical installations.
It is the monologue of a dying soldier, sung by Octavio soloist Behle, who “just wants to dream and forget” while the last waltzes glimmer.
In general, classic comic elements are eliminated. The most important intervention concerns the Buffo couple. Marthaler turns that on to Anna and Sladek. An import from Ödön von Horváth's early play “Sladek”. He is a member of the subversive “black Reichswehr”, she is his girlfriend, who wants to bring everything to light and has to be murdered by her lover.
However, one also learns that Marthaler revolves more and more around his imagery and aesthetic cosmos instead of the pieces, armoring himself almost autistically in it.
This "Giuditta" is a collection of absurdly comical self-quotes.
A festival of (consciously?) Staged paralysis.
Even the ambiguous stage space of Marthaler's permanent outfitter Anna Viebrock already existed: in “44 Harmonies from Apartment House 1776” at the Schauspielhaus Zurich.
Half waiting room, half gym, plus a pub stage, chairs, everything in matt brown-gray-turquoise shabby chic.
That fits and opens up opportunities to play - only: Will Viebrock be paid in full for this one more time?
Soloists as singing implants
Most soloists feel like the new musical numbers. They can hardly get beyond an existence as a foreign body, in this case as a singing implant. This concerns Daniel Behle, who shows off mightily and skilfully, apparently got lost here from the operetta bliss. Vida Miknevičiūtė as Giuditta is also a cool heroine with impressive tones and signs of fatigue towards the end. Sebastian Kohlhepp as Sladek (also vocal) manages a tightrope walk between buffalo cheerfulness and the abysmal, as does Kerstin Avemo (Anna) with her impressive twelve-tone songs. Jochen Schmeckenbecher (Antonio) meshes most closely with the style of the provocatively staged Lehára failure. For the many speaking roles, proven Marthaler staff, including Ueli Jäggi, Raphael Clamer and Olivia Grigolli, were booked.
The latter can rely on micro-amplification, but the vocal faction has a hard time. Much is too loud. Lehár's thick instrumentation demands its victims. But also a national theater with an absurd 25 percent of visitors, where the booming threshold is much lower. Conductor Titus Engel will balance this out in the course of the premiere series. It is one of the biggest pluses in production. Engel only stepped in during the rehearsals. And now there is a polyglot desk man who thinks his way into Lehár as much as he does in Shostakovich or Schönberg and actually conducts the mix of styles as such. The Bavarian State Orchestra can be challenged profitably.
Even during the premiere, displeasure arises.
In the end, there was a lot of boos for the directing team, also demonstrative bravi.
The evening, as theater has to be, creates controversy.
However, it is unlikely to work as a performance for the repertoire; a new production with other artists seems impossible.
In this respect, too, Marthaler's “Giuditta” remains a state opera experiment.
Traditionalists will be comforted in the next few years.
Barrie Kosky risks a new "bat" at the house.
